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% THE GLASS FACTORY. %
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,,,,,.=/%$ SEVERAL CENTURIES AFTER IT HAD LAST $%/=.,,,,,
,,,,.=/%$& BELONGED TO US, WE WENT ON AN OUTING TO &$%/=.,,,,
,,,.=/%$&@ THE GLASS FACTORY THAT BORE OUR FAMILY @&$%/=.,,,
,,.=/%$&@# NAME. IT HAD CHANGED OWNERS MANY TIMES #@&$%/=.,,
,.=/%$&@## SINCE OUR ANCESTORS DEATH, AND THEN ##@&$%/=.,
,,.=/%$&@# STOOD ABANDONED FOR A LONG WHILE. #@&$%/=.,,
,,,.=/%$&@ FINALLY, THE NATURAL END STATION FOR @&$%/=.,,,
,,,,.=/%$& THE BUILDINGS THAT SURVIVE: A MUSEUM, &$%/=.,,,,
,,,,,.=/%$ AND A GIFT SHOP. $%/=.,,,,,
,,,,,,.=/% %/=.,,,,,,
,,,,,,,.=/ THERE'S A LONG TIME SINCE MY FAMILY /=.,,,,,,,
,,,,,,,,.= MADE ANYTHING. BY MANY, WE WOULD BE =.,,,,,,,,
,,,,,,,,,. CONSIDERED POOR. .,,,,,,,,,
,,,,,,,,,, ,,,,,,,,,,
,,,,,,,,,. THERE ARE TWO MAIN FACTORY BUILDINGS, .,,,,,,,,,
,,,,,,,,.= DOMED THINGS OF SEVERAL FLOORS, MADE IN =.,,,,,,,,
,,,,,,,.=/ YELLOW BRICK. LARGE BUT NARROW WINDOWS, /=.,,,,,,,
,,,,,,.=/% REMINESCENT OF SOME CATHEDRAL. %/=.,,,,,,
,,,,,.=/%$ CUSTOM-MADE GLASS, OF COURSE, LARGE AND $%/=.,,,,,
,,,,.=/%$& LEADED, AND ASHEN. A BIT TOO DARK TO BE &$%/=.,,,,
,,,.=/%$&@ PRACTICAL. ON THE EASTERN BUILDING, @&$%/=.,,,
,,.=/%$&@# SOME ARE SHATTERED. #@&$%/=.,,
,.=/%$&@## ##@&$%/=.,
,,.=/%$&@# THE OTHER ONE IS PUBLICLY OPEN. THERE'S #@&$%/=.,,
,,,.=/%$&@ A MUSEUM, WITH WAX FIGURES OF MY GREAT @&$%/=.,,,
,,,,.=/%$& GREAT GREAT GRANDFATHER, OR SOMETHING. &$%/=.,,,,
,,,,,.=/%$ VARIOUS TOOLS (OR REPLICAS) LAID OUT ON $%/=.,,,,,
,,,,,,.=/% TABLES, WITH EXPLAINING TEXTS. A LOT OF %/=.,,,,,,
,,,,,,,.=/ GLASS OF VARYING THICKNESS. /=.,,,,,,,
,,,,,,,,.= =.,,,,,,,,
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,,,,,,,,,, %% %% ,,,,,,,,,,
,,,,,,,,,. ======= % % ======= .,,,,,,,,,
,,,,,,,,.= %% %% =.,,,,,,,,
,,,,,,,.=/ %% /=.,,,,,,,
,,,,,,.=/% %/=.,,,,,,
,,,,,.=/%$ I QUICKLY SNEAK OUT, AND CLIMB INTO THE $%/=.,,,,,
,,,,.=/%$& OTHER BUILDING. THE CONTRAST IS &$%/=.,,,,
,,,.=/%$&@ OVERWHELMING. IT MUST HAVE STOOD @&$%/=.,,,
,,.=/%$&@# DERELICT FOR A LONG TIME, WINDOWS #@&$%/=.,,
,.=/%$&@## BROKEN, METALLIC TRASH AND POOLS OF ##@&$%/=.,
,,.=/%$&@# DARK GLASS ALL OVER THE FLOOR. NO #@&$%/=.,,
,,,.=/%$&@ ELECTRIC LIGHTS, BUT I CAN SEE BY THE @&$%/=.,,,
,,,,.=/%$& LIGHT THAT SHINES IN WHEREVER THE DARK &$%/=.,,,,
,,,,,.=/%$ WINDOWS ARE MISSING A PANE. $%/=.,,,,,
,,,,,,.=/% %/=.,,,,,,
,,,,,,,.=/ HOWEVER, THE GREATEST DIFFERENCE IS THE /=.,,,,,,,
,,,,,,,,.= HIGHER FLOORS: THIS BUILDING HAS NONE. =.,,,,,,,,
,,,,,,,,,. IT IS ONE MASSIVE HALL, STRETCHING AWAY .,,,,,,,,,
,,,,,,,,,, INFINITELY ABOVE ME. SOMEWHERE UP THERE ,,,,,,,,,,
,,,,,,,,,. IS SOME GREAT IRON LATTICEWORK, FROM .,,,,,,,,,
,,,,,,,,.= WHERE CHAINS ARE SUSPENDED, AND PARTS =.,,,,,,,,
,,,,,,,.=/ OF MACHINERY HAS BEEN FALLING DOWN. /=.,,,,,,,
,,,,,,.=/% %/=.,,,,,,
,,,,,.=/%$ THERE IS, IN THE MIDDLE OF THE GREAT $%/=.,,,,,
,,,,.=/%$& HALL, A THIN SPIRAL STAIRCASE THAT &$%/=.,,,,
,,,.=/%$&@ LEADS UP THERE. I SNEAK OVER THERE, AND @&$%/=.,,,
,,.=/%$&@# TAKE A FEW RELUCTANT STEPS. AFTER JUST #@&$%/=.,,
,.=/%$&@## A REVOLUTION, I NOTICE THAT FOR EACH ##@&$%/=.,
,,.=/%$&@# STEP THE BUILDING STARTS TO GLOW, THE #@&$%/=.,,
,,,.=/%$&@ BRICKS TURNING A DARK RED, AND THEN @&$%/=.,,,
,,,,.=/%$& ORANGE, ALL THE PILED UP DEBREE BEING &$%/=.,,,,
,,,,,.=/%$ LIT FROM BEHIND. $%/=.,,,,,
,,,,,,.=/% %/=.,,,,,,
,,,,,,,.=/ I STOP READY TO RUN DOWN AND OUT, BUT /=.,,,,,,,
,,,,,,,,.= THERE'S SOMEONE ELSE ON THE STAIRCASE =.,,,,,,,,
,,,,,,,,,. WITH ME NOW, PRESSED CLOSE. HE'S .,,,,,,,,,
,,,,,,,,,, LOOKING LIKE ME, SHORT HAIR AND THIN ,,,,,,,,,,
,,,,,,,,,. ARMS, BUT WITH EARS FROM SOME ANIMAL, .,,,,,,,,,
,,,,,,,,.= AND MORE DISTURBINGLY, COMPLETELY MADE =.,,,,,,,,
,,,,,,,.=/ OF DARK LIQUID GLASS. /=.,,,,,,,
,,,,,,.=/% %/=.,,,,,,
,,,,,.=/%$ %% $%/=.,,,,,
,,,,.=/%$& %% %% &$%/=.,,,,
,,,.=/%$&@ ======= % % ======= @&$%/=.,,,
,,.=/%$&@# %% %% #@&$%/=.,,
,.=/%$&@## %% ##@&$%/=.,
,,.=/%$&@# #@&$%/=.,,
,,,.=/%$&@ MY FEAR HOLDS ME IN PLACE WHILE HE @&$%/=.,,,
,,,,.=/%$& STARTS OPERATING LEVERS AND DIALS SET &$%/=.,,,,
,,,,,.=/%$ IN THE CENTER OF THE STAIRCASE. SLOWLY, $%/=.,,,,,
,,,,,,.=/% IT STARTS SPINNING, CIRCLING UPWARDS. %/=.,,,,,,
,,,,,,,.=/ IT'S AN ELEVATOR! I START TO RUN /=.,,,,,,,
,,,,,,,,.= DOWNWARDS, BUT NOW THE LIQUID BOY =.,,,,,,,,
,,,,,,,,,. CREATURE GRABS HOLD OF ME. I TRY TO .,,,,,,,,,
,,,,,,,,,, SHAKE HIM OFF, BUT HE'S TOO STRONG, AND ,,,,,,,,,,
,,,,,,,,,. PULLS ME BACK UP BESIDE HIM. .,,,,,,,,,
,,,,,,,,.= =.,,,,,,,,
,,,,,,,.=/ THIS TIME, I TURN ANGRY INSTEAD. WHAT /=.,,,,,,,
,,,,,,.=/% THE HELL? WHO IS THIS GUY, ACTING LIKE %/=.,,,,,,
,,,,,.=/%$ THIS? I REACH OUT MY FREE ARM AND SLAM $%/=.,,,,,
,,,,.=/%$& A RANDOM LEVER. SOME METAL BAR IS &$%/=.,,,,
,,,.=/%$&@ SUDDENLY RELEASED BETWEEN US, HITTING @&$%/=.,,,
,,.=/%$&@# HIM ON THE ARM, FORCING MY RELEASE. I #@&$%/=.,,
,.=/%$&@## SHOVE HIM OFF OF ME, AND HE FALLS INTO ##@&$%/=.,
,,.=/%$&@# THE LEVERS, MESSING THEM UP. #@&$%/=.,,
,,,.=/%$&@ IMMEDIATELY, A THIN RUSTY CHAINMAIL @&$%/=.,,,
,,,,.=/%$& CURTAIN IS DROPPED AROUND ME. BUT THE &$%/=.,,,,
,,,,,.=/%$ ELEVATOR ALSO SPEEDS UP SIGNIFICANTLY. $%/=.,,,,,
,,,,,,.=/% %/=.,,,,,,
,,,,,,,.=/ THE WALLS ARE FLARING NOW, YELLOW, /=.,,,,,,,
,,,,,,,,.= WHITE, ALMOST BLUE. I CLOSE MY EYES AND =.,,,,,,,,
,,,,,,,,,. CURL INTO A BALL. BUT THEN, THE GLASS .,,,,,,,,,
,,,,,,,,,, BOY SCREAMS, A PIERCING SOUND THAT ,,,,,,,,,,
,,,,,,,,,. FORCES MY EYES BACK OPEN. I WATCH AS HE .,,,,,,,,,
,,,,,,,,.= BECOMES TOO LIQUID, HIS BODY POOLING =.,,,,,,,,
,,,,,,,.=/ DOWN IN HIS NOW MASSIVE TAIL, AND THE /=.,,,,,,,
,,,,,,.=/% TIP OF IT SUDDENLY BREAKS OF IN A GLASS %/=.,,,,,,
,,,,,.=/%$ DROP THAT FALLS TOWARD THE FACTORY $%/=.,,,,,
,,,,.=/%$& FLOOR. &$%/=.,,,,
,,,.=/%$&@ @&$%/=.,,,
,,.=/%$&@# HE'S CRAWLING ON THE STAIRS, UNABLE TO #@&$%/=.,,
,.=/%$&@## KEEP HIS BODY UPRIGHT. CAN'T REACH THE ##@&$%/=.,
,,.=/%$&@# LEVERS, CLAWS AT MY CHAINMAIL CAGE, #@&$%/=.,,
,,,.=/%$&@ WHILE HIS BODY IS TURNING INTO DARK @&$%/=.,,,
,,,,.=/%$& PEARLS. FINALLY, HE'S LOST TOO MUCH OF &$%/=.,,,,
,,,,,.=/%$ HIMSELF AND THE SCREAM IS CUT SHORT. $%/=.,,,,,
,,,,,,.=/% THE LAST OF HIM RAINS DOWN. %/=.,,,,,,
,,,,,,,.=/ /=.,,,,,,,
,,,,,,,,.= I STILL CAN'T REACH THE LEVERS FROM =.,,,,,,,,
,,,,,,,,,. WITHIN MY CAGE. LOOKING UP, I TRY TO .,,,,,,,,,
,,,,,,,,,, MAKE OUT THE CEILING, BUT IT'S ALL A ,,,,,,,,,,
,,,,,,,,,. WHIRLING SEA OF COLOURS. BELOW ME GLOWS .,,,,,,,,,
,,,,,,,,.= THE HELLFIRE OF THE FACTORY WALLS, BUT =.,,,,,,,,
,,,,,,,.=/ VERY FAINT. I SIT DOWN, CURL BACK UP, /=.,,,,,,,
,,,,,,.=/% BECOME STILL. %/=.,,,,,,
,,,,,.=/%$ $%/=.,,,,,
,,,,.=/%$& %% &$%/=.,,,,
,,,.=/%$&@ %% %% @&$%/=.,,,
,,.=/%$&@# ======= % % ======= #@&$%/=.,,
,.=/%$&@## %% %% ##@&$%/=.,
,,.=/%$&@# %% #@&$%/=.,,
,,,.=/%$&@ @&$%/=.,,,
,,,,.=/%$& A LARGE CLUNK SHAKES MY ENTIRE BODY, &$%/=.,,,,
,,,,,.=/%$ AND SNAPS ME BACK INTO REALITY. I'M $%/=.,,,,,
,,,,,,.=/% BACK AT THE FACTORY FLOOR, BUT THE %/=.,,,,,,
,,,,,,,.=/ STAIRS ARE STILL MOVING SLIGHTLY, /=.,,,,,,,
,,,,,,,,.= CLICKING IN PLACE, CARRYING ME THE LAST =.,,,,,,,,
,,,,,,,,,. FEW CENTIMETERS. I CAME FROM BELOW, .,,,,,,,,,
,,,,,,,,,, SOMEHOW. THE CHAINMAIL IS RETRACTED, ,,,,,,,,,,
,,,,,,,,,. AND I SLOWLY DISMOUNT THE STAIRS. .,,,,,,,,,
,,,,,,,,.= =.,,,,,,,,
,,,,,,,.=/ SHAKING AND CRYING, I MAKE MY WAY OVER /=.,,,,,,,
,,,,,,.=/% THE FACTORY FLOOR, WADING THROUGH DARK %/=.,,,,,,
,,,,,.=/%$ GLASS MARBLES. A QUICK GLANCE DOWN, AND $%/=.,,,,,
,,,,.=/%$& I SEE THERE'S SOMETHING FAINT INSIDE &$%/=.,,,,
,,,.=/%$&@ THEM. EMBRYOS? ARE THESE EGGS? @&$%/=.,,,
,,.=/%$&@# #@&$%/=.,,
,.=/%$&@## I SHUDDER, AND CLIMB BACK OUT. ##@&$%/=.,
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